ji dhundta hai phir vahi fursat ki raat din baithe rahen tasavvur-e-janan kiye hue

again this heart seeks those days of leisure as of yore sitting just enmeshed in thoughts of my paramour the speaker longs for an unbroken leisure where time stops being practical and becomes purely emotional. “day and night” suggests a continuous hunger, not a momentary wish. the “image of the beloved” is a refuge: sitting still becomes a form of devotion and survival. the couplet captures love as a persistent inner occupation that needs silence and time to fully unfold.

duniya-e-tasavvur ham abad nahin karte yaad aate ho tum khud hi ham yaad nahin karte

un ka ghham un ka tasavvur un ki yaad kat rahi hai zindagi aram se

haan dikha de ai tasavvur phir vo subh o shaam tu daud pichhe ki taraf ai gardish-e-ayyam tu

the speaker pleads with imagination to revive a lost time as vividly as real life, and addresses time itself as if it could reverse course. “morning and evening” stands for the whole rhythm of a bygone life, now missed. the emotional core is longing: a desire to undo loss by making time return, even if only in the mind.

jaane kyuun ik khayal sa aaya main na hunga to kya kami hogi

un ka ghham un ka tasavvur un ke shikve ab kahan ab to ye baten bhi ai dil ho gaiin aai gai

phir nazar men phuul mahke dil men phir shamen jalin phir tasavvur ne liya us bazm men jaane ka naam

tere khayal ke divar-o-dar banate hain ham apne ghar men bhi tera hi ghar banate hain

tasavvur men bhi ab vo be-naqab aate nahin mujh tak qayamat aa chuki hai log kahte hain shabab aaya

tasavvur zulf ka hai aur main huun bala ka samna hai aur main huun

mere pahlu men tum aao ye kahan mere nasib ye bhi kya kam hai tasavvur men to aa jaate ho

chahiye us ka tasavvur hi se naqsha khinchna dekh kar tasvir ko tasvir phir khinchi to kya

the couplet values true creativity: real art should arise from inner imagination, not mere copying. ‘tasavvur’ (mental vision) is presented as the authentic source of a new image. reproducing an image by looking at an existing one becomes imitation, lacking freshness and personal feeling. the emotional core is a demand for originality in love and in art alike.

ham hain us ke khayal ki tasvir jis ki tasvir hai khayal apna

khul nahin sakti hain ab ankhen miri ji men ye kis ka tasavvur aa gaya

lab-e-khayal se us lab ka jo liya bosa to munh hi munh men ajab tarah ka maza aaya

yaad men khvab men tasavvur men aa ki aane ke hain hazar tariq

mahv huun is qadar tasavvur men shak ye hota hai main huun ya tu hai

hain tasavvur men us ke ankhen band log janen hain khvab karta huun

puuri hoti hain tasavvur men umiden kya kya dil men sab kuchh hai magar pesh-e-nazar kuchh bhi nahin

raat bhar un ka tasavvur dil ko tadpata raha ek naqsha samne aata raha jaata raha

ji dhundta hai phir vahi fursat ki raat din baithe rahen tasavvur-e-janan kiye hue

again this heart seeks those days of leisure as of yore sitting just enmeshed in thoughts of my paramour the speaker longs for an unbroken leisure where time stops being practical and becomes purely emotional. “day and night” suggests a continuous hunger, not a momentary wish. the “image of the beloved” is a refuge: sitting still becomes a form of devotion and survival. the couplet captures love as a persistent inner occupation that needs silence and time to fully unfold.

duniya-e-tasavvur ham abad nahin karte yaad aate ho tum khud hi ham yaad nahin karte

un ka ghham un ka tasavvur un ki yaad kat rahi hai zindagi aram se

haan dikha de ai tasavvur phir vo subh o shaam tu daud pichhe ki taraf ai gardish-e-ayyam tu

the speaker pleads with imagination to revive a lost time as vividly as real life, and addresses time itself as if it could reverse course. “morning and evening” stands for the whole rhythm of a bygone life, now missed. the emotional core is longing: a desire to undo loss by making time return, even if only in the mind.

jaane kyuun ik khayal sa aaya main na hunga to kya kami hogi

un ka ghham un ka tasavvur un ke shikve ab kahan ab to ye baten bhi ai dil ho gaiin aai gai

phir nazar men phuul mahke dil men phir shamen jalin phir tasavvur ne liya us bazm men jaane ka naam

tere khayal ke divar-o-dar banate hain ham apne ghar men bhi tera hi ghar banate hain

tasavvur men bhi ab vo be-naqab aate nahin mujh tak qayamat aa chuki hai log kahte hain shabab aaya

tasavvur zulf ka hai aur main huun bala ka samna hai aur main huun

mere pahlu men tum aao ye kahan mere nasib ye bhi kya kam hai tasavvur men to aa jaate ho

chahiye us ka tasavvur hi se naqsha khinchna dekh kar tasvir ko tasvir phir khinchi to kya

the couplet values true creativity: real art should arise from inner imagination, not mere copying. ‘tasavvur’ (mental vision) is presented as the authentic source of a new image. reproducing an image by looking at an existing one becomes imitation, lacking freshness and personal feeling. the emotional core is a demand for originality in love and in art alike.

ham hain us ke khayal ki tasvir jis ki tasvir hai khayal apna

khul nahin sakti hain ab ankhen miri ji men ye kis ka tasavvur aa gaya

puuri hoti hain tasavvur men umiden kya kya dil men sab kuchh hai magar pesh-e-nazar kuchh bhi nahin

raat bhar un ka tasavvur dil ko tadpata raha ek naqsha samne aata raha jaata raha

yaad men khvab men tasavvur men aa ki aane ke hain hazar tariq

bichhad kar us se sikha hai tasavvur ko badan karna akele men use chhuna akele men sukhan karna

hain tasavvur men us ke ankhen band log janen hain khvab karta huun

main ik thaka hua insan aur kya karta tarah tarah ke tasavvur khuda se bandh liye